馬克?渥林格(Mark Wallinger)

馬克?渥林格1959生于英格蘭艾塞克斯郡的切格威爾。1977-1978年，在艾塞克斯勞頓學(xué)院學(xué)習(xí)；1978-1981年，在倫敦切爾西藝術(shù)學(xué)校學(xué)習(xí)；1983-1985年，就讀于哥德史密斯學(xué)院。1995年獲得“透納獎”提名。1998年獲得羅馬英國學(xué)校的亨利摩爾獎學(xué)金，2001年參與了柏林德國學(xué)術(shù)交流中心國際藝術(shù)家項目，并于2001年代表英國參加了第49屆威尼斯雙年展。如今渥林格在倫敦居住和創(chuàng)作。

馬克?渥林格早期的作品反映出他伸手英國左翼思想傳統(tǒng)的影響，他希望自己的作品具有廣泛的吸引力。1995年，在透納獎的展覽上，他的作品結(jié)合了繪畫和錄像，內(nèi)容是基于他一貫感興趣的賽馬，隱喻英國對階級等級和育馬的狂熱。作品使用一匹真正的賽馬，拓展了冠軍的概念，被命名為《真正的藝術(shù)品》[Real Work of Art, 1994]。就算是從更為普遍的意義上來說，他的作品也是對英國在20世紀(jì)晚期的身份，其歷史神話、傳統(tǒng)、禮節(jié)和社會體系做出的一次幽默諷刺。

渥林格后期的作品更加關(guān)注道德和哲學(xué)問題，尤其是宗教和死亡。通過發(fā)展自己的概念詞匯和視覺詞匯——那些他認(rèn)為對西方哲學(xué)最為重要的主題，他延伸了對哲學(xué)的興趣和關(guān)注。他常常使用鏡子，并對它的雙重效果和幻想功能很著迷。藝術(shù)家運用這樣的主題，超越諷刺的范疇，為他的作品創(chuàng)作了更為深遠的含義。

Mark Wallinger was born in Chigwell, Essex, England in 1959. He studied at Loughton College, Essex, 1977-8, Chelsea School of Art, London, 1978–81, and finally at Goldsmith’s College, London, 1983–5. Wallinger was nominated for the Turner Prize in 1995. He was awarded a Henry Moore Fellowship at the British School in Rome, 1998 and undertook a DAAD International Artists Programme, Berlin, 2001. He represented Britain at the 49th Venice Biennale, 2001. Wallinger lives and works in London.

Mark Wallinger’s early works reflected his roots in the tradition of British left-wing thought, and his wish that his work should have broad appeal. His work for his Turner Prize exhibition in 1995 incorporating painting and film was based on his interest in horse racing as a metaphor for the British fixation with class and breeding, and one that extended the Duchampian idea of the ready made to include an actual race horse named by the artist a Real Work of Art (1994). Yet on a more general level, his work is also a humorous satire of late twentieth century British identity: its historical myths, traditions, ceremonies and social systems.

Wallinger’s later works focus on morals and philosophy, in particular, religion and death. Indeed, the artist has extended his interest in philosophy by developing his own conceptual and visual vocabulary, motifs which he finds central to western philosophy. He often uses the mirror, a device which fascinates him because of its doubling and illusionary effects. These motifs are employed by the artist to create a further interpretation of his work, beyond a mere satirical reading.